Tag Archives: CanLit

“holding each other up”: A Review of Katherena Vermette’s The Break

Katherena Vermette’s The Break is a devastatingly beautiful novel that depicts the bonds between the women of an extended Indigenous family. With warp and weft, Vermette weaves together the voices of numerous intergenerational women to tell their personal stories as they deal with the enduring after-effects of trauma. The prose is sparse, yet dense (“Stella blinks a tear”), as the narrative takes a bare-knuckles approach to cut a jagged truth. Like her stunning poetic debut, North End Love Songs (2012), The Break deftly crafts Vermette’s complex relationship to Winnipeg’s North End. A surface reading concerns the mystery surrounding the sexual assault of a thirteen-year-old Métis girl vis-à-vis the police procedural that unfolds as a result of the crime: “Aboriginal female. Blood loss. Signs of sexual assault.” But the novel is far more complex than this, using numerous viewpoints to reveal the complicated sociopolitical conditions that produce violence and racism, and that cause harm to people, especially women, in Indigenous communities.

Click here to read my full review at Canadian Literature.

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When Voices Intertwine (Book Review)

Robert Bringhurst is often described as a modern-day renaissance man. Few writers could navigate fields as diverse as poetry, translation, typography, cultural history, and philosophy as interwoven vocations. Through an adherence to polyphony as a mode of deep ecological thinking, Bringhurst works to make accessible the wisdom of poets and thinkers past, from Sophocles to Haida mythtellers Ghandl and Skaay.

As Bringhurst puts it, “when two voices intertwine, the space they occupy gets larger, and the mind gets larger with it”; no wonder poet Denis Lee calls him “a man of massive simple-mindedness.” Bringhurst has a way of chiselling complex thinking down to that part of being that ineluctably binds all living matter together. Bringhurst’s ontological approach is more aligned with ancient Greece than the modern academy, which is why editors Brent Wood and Mark Dickinson make clear that he doesn’t neatly fit within the “twenty-first century university’s rubric of knowledge production and transmission.” As such, Bringhurst is most comfortable in the role of an independent public thinker, bound by neither institution nor strict cultural protocol, which has irked some of his critics.

Click here to read my full review at Canadian Literature.